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OKLAHOMA CITY — In the aftermath of their worst loss of the season, few Lakers players or coaches had spoken to Luka Doncic after he limped off the court in the third quarter Thursday against the Oklahoma City Thunder. Austin Reaves didn’t know the extent of Doncic’s hamstring injury, but he knew how the Lakers superstar would approach the latest hurdle in this winding season.

“He’s a competitor,” Reaves said of Doncic, “so he’ll do all he can do to put himself in a position to come back when he can.”

Doncic will undergo an MRI on Friday on the left hamstring injury he suffered in a 43-point loss to the Thunder. He already missed four games before the All-Star break with the same injury, but the Lakers withheld expectations on his status for the final five regular-season games.

After Sunday’s game in Dallas, the Lakers face the Thunder at home Tuesday, play consecutive games at Golden State on Thursday and against Phoenix at home Friday and finish the regular season Sunday against Utah.

Doncic’s injury left the Lakers backcourt extra shorthanded Thursday as Marcus Smart missed his sixth consecutive game Thursday. The veteran guard could return against Dallas, coach JJ Redick said. He has been day-to-day since injuring his right ankle against Orlando on March 21.

If Smart is unable to return in Doncic’s absence, the Lakers could shift even more ball-handling responsibility to Reaves and LeBron James while relying on Bronny James as an additional guard off the bench. The 21-year-old James has played in five consecutive games, tying his longest stretch of his second pro season.

The Lakers (50-27) are already guaranteed a top-six seed in the Western Conference, but are still jostling for seeding. They have a one-game lead for the No. 3 seed over No. 4 Denver, which is on a seven-game winning streak.

Approaching the end of the regular season, the Lakers looked at Thursday’s game against the defending NBA champions as a test, forward Jake LaRavia said. They were 15-2 in March with 13 wins in their last 14 games. The Lakers were playing like an evolved form of the team that lost by 29 to the Thunder in Oklahoma City in November.

But like that first rout, Thursday’s featured a flurry of Lakers turnovers, suffocating Oklahoma City ball pressure and an efficient masterclass from Shai Gilgeous-Alexander.

“This close to the end of the season, we would’ve wanted it not to go that way,” said LaRavia, who had six points and a team-high eight rebounds Thursday. “It was pretty much the same story, I feel like, the first time we played here this year.”

The Lakers built much of their March success on successful revenge performances. They bounced back after previous losses to the New York Knicks, Houston Rockets and the Orlando Magic. They lost by seven to the Nuggets on March 5 then responded with nine consecutive wins, their longest winning streak of the season, including an overtime thriller against Denver that clinched the head-to-head tiebreaker that could factor into the tight standings.

Redick praised his team’s “playoff mentality” during the run. It was also when the team was largely its healthiest.

Doncic had played all but one game since the All-Star break. Reaves, who missed six weeks with a calf injury this season, has started in 22 consecutive games. When James returned from an elbow injury, the star trio found a clear hierarchy that lifted the team to new heights.

Doncic, who became just the 10th player in NBA history to score 600 points in a single month, is the “head of the snake,” said James, who is averaging just 12.3 shots in the last 12 games but is shooting 54.4% from the field. Doncic’s brilliant March unified the team behind his most valuable player push, his thrilling shot-making and even his smiling dunk against Washington.

With the team exuding the type of joy that often characterizes Doncic’s game, James believes the Lakers can maintain their momentum despite Doncic’s uncertain status and a deflating loss.

“Nothing is rattled,” James said. “It’s one game, it’s part of the NBA season, it’s the defending champions. We get it. We understand.”

It’s clear that “Forbidden Fruits” director and co-writer Meredith Alloway has marinated in plenty of ’90s teen movies and the kitschy pop-culture ephemera of that era. Her directorial debut, written with Lily Houghton and based on Houghton’s play “Of the woman came the beginning of sin and through her we all die,” is essentially a synthesis of “The Craft,” “Mean Girls” and “Clueless,” about a coven of catty witches who work at a boutique in a Texas mall.

But in “Forbidden Fruits,” it’s hard to shake the feeling that Alloway’s movie knowledge is just that — easily identifiable iconography without much innovation or depth.

Our clique comes storming down the mall food court in that classic slow-motion strut, letting us know right away what we’re in for. They’re known as the Fruits because they all happen to be named after them. The leader, Apple (Lili Reinhart), operates in the controlling mode of Regina George or Cher Horowitz; her lackeys are alt queen Fig (Alexandra Shipp) and blond bimbo Cherry (Victoria Pedretti). When they realize that a cute pretzel purveyor is named Pumpkin (Lola Tung), they quickly bring her into their circle as a fourth, seemingly only because her name fits the theme.

Apple runs her high-femme coven out of their store Free Eden with an emphasis on iconic women: The girls confess to their martyr Marilyn Monroe in a dressing room and practice dark magic with their panties and a silver cowboy boot. In the interest of helping each other “shine,” Apple also takes a page from Ann Lee and the Shakers — sex and boys are banned and communication is highly controlled.

It’s only when Pumpkin starts uncovering some of the coven’s secrets, including the existence of a former member named Pickle (Emma Chamberlain), that their controversial personal histories involving hexes, poison, fires and hidden boyfriends come to light, and the situation spirals out of control (literally — the climax happens during a tornado).

Alloway and cinematographer Karim Hussain craft a distinctive and unique aesthetic, a gauzy, highly artificial look that underlines the winky referential tone, but one that also lends “Forbidden Fruits” a strangely dreamlike quality that doesn’t always work for the genre.

While the actors, particularly Reinhart and Pedretti, are locked in with the tone and Reinhart delivers the fierceness required of such a role, the pace of “Forbidden Fruits” is at odds with the performers. The film is weirdly slow and sleepy and at least 20 minutes too long. The convoluted story, peppered with various twists, lacks momentum.

A stronger hand in the edit could have resulted in something more dynamic and engaging, but the plotting is mushy and then rushed. For a witchy horror thriller, it’s heavier on psychological violence than actual scares, and a third-act bloodbath and big reveal can’t save it when we finally get there.

The film’s theatrical provenance reveals itself in long monologues in the Marilyn confessional room and Pedretti delivers one that reveals the depth beyond Cherry’s ditzy exterior. We can see Houghton’s play in these moments, but then Alloway’s cheeky pop sensibility intervenes, the arch artificiality and ironic tone draining the emotional impact.

“Forbidden Fruits” can’t reconcile all of its influences and just ends up as a collection of references and high style without much staying power — it’s essentially the fast fashion of girly pop horror.

Katie Walsh is a Tribune News Service film critic.